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Sienna Miller’s boho outfit formula is so easy to replicate this fall. All you need is flared jeans and a silk blouse.

Sienna Miller has become a boho style icon. This beloved aesthetic has always been part of her style, whether she’s strolling down the street or hitting the most prestigious red carpets. Her looks are characterized by a natural, relaxed elegance, featuring flowing dresses, lightweight fabrics, and details reminiscent of 1970s fashion. And her latest red carpet outfit only confirmed this.

Sienna Miller attends the premiere of Abigail’s Party at The Harold Pinter Theatre on August 19, 2026 in London, England.

Simon Ackerman/Getty Images

All the details of Sienna Miller’s ’70s boho look:

For the presentation of Abigail’s Party in the West End, Sienna Miller opted for a sophisticated yet effortless outfit, in perfect 1970s style. The star paired an ivory silk shirt with a pair of cropped flared jeans. A Chloé bracelet bag, glove-style ballet flats, and large sunglasses completed the look.

Image may contain Sienna Miller Carlens Arcus Clothing Pants Jeans Adult Person Teen Accessories Bag and Handbag

Sienna Miller attends the premiere of Abigail’s Party at The Harold Pinter Theatre on August 19, 2026 in London, England.

Dave Benett/Getty Images

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Sienna Miller's boho outfit formula is so

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Dr. Dre, the legendary hip-hop producer and performer, sees AI as another tool in the music-tech toolbox akin to synthesizers — and asserted that only people “who have trouble creating” are afraid of AI.

Dre, founder of the Aftermath record label and co-founder and CEO of Apple’s Beats, said that he doesn’t see AI “as a threat,” in an interview alongside his longtime business partner Jimmy Iovine, which was published Sunday by the New York Times. “I think the only people that see it as a threat are the people who have trouble creating.”

“I had a discussion with a few people a few days ago,” Dre said. “They were against AI and I’m like, ‘OK, you sound like the person that would have been against the drum machine when it came out.’ Or synthesizers, right? It’s a new tool for creativity. Some people are afraid of learning new things.”

Dre said he’s using AI tech in music “as a tool to see what it would do with what I just did.” Iovine added, “So is Timbaland — another brilliant producer. By the way, there’s a lot of closet AI producers out there.”

Asked what he most recently asked an AI chatbot, Dre said his query was, “How do you put on muscle and lose fat at the same time? That’s it.”

Dre, 61, was named to Forbes’ 2026 Billionaires list, joining the publication’s rankings for the first time, with an estimated net worth of $1 billion. In 2014, he and Iovine sold Beats by Dre to Apple in a deal worth more than $3 billion. Dre in 2023 sold a collection of music income streams and other assets to Shamrock Holdings and Universal Music Group for more than $200 million.

In the music industry, AI remains controversial and the subject of ongoing legal disputes. For example, last week indie music publisher Round Hill Music sued Suno and Anthropic, accusing the two AI companies of copyright infringement by illegally scraping hundreds of its songs to train their models without permission. Suno has been sued by all three of the major labels — Warner Music Group, Universal Music Group and Sony Music — though it settled with WMG last year. In addition, Suno recently struck a licensing agreement with BMG (which sued Anthropic this year for allegedly using its recordings to train AI models in what it called a scheme of “widespread and systematic infringement”).

Meanwhile, Apple Music said it will begin labeling songs derived from AI platforms later this year, following Spotify’s decision to label the profiles of artists that appear to be AI-generated as “AI Personas.” Last month, a coalition including the RIAA, IFPI, the Grammys and SAG-AFTRA united to advocate for a new industry labeling program for AI-produced songs similar to labels flagging explicit content.

Corbin Bolies contributed to this article.

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OTTAWA – The Bank of Canada is carefully watching the rise of an alternative credit model that has Canadian investors and banks exposed to half a trillion dollars of loans held largely beyond the public eye.

The concern revolves around private credit, which doesn’t have a universal definition but broadly involves businesses taking out loans from non-bank lenders including asset managers, insurers and pension funds.

A mid-sized business might turn to private credit if they’re looking for money to fund the next stage of growth but are still too small for a traditional bank loan or issuing debt on the bond market.

The share of Canadian businesses making use of private credit is still limited, but the rapid adoption of the model worldwide and in the United States it has been tied to high-profile bankruptcies.

Private credit was flagged as a risk in the Bank of Canada’s 2026 financial stability report in May. Economists at the central bank released a paper last week tracking the model’s growth in Canada, and explaining to a broader audience why private credit is worth watching.

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Globally, the uptake of private credit is expanding rapidly as firms seek fast and flexible ways to access capital, according to the Bank of Canada.

But the report’s authors said the share of loans from non-banks to domestic businesses has held steady at about 15 per cent over the past decade. They said that suggests “private credit has not been displacing traditional sources of funding.”

The Bank of Canada’s analysis concluded Canadian firms aren’t taking out those loans en masse, but in many cases, they are underwriting them.

As of the start of this year, the bank estimates that there was a combined value of $500 billion in private lending by Canadian investors and lending to private credit funds by Canadian banks. Most of that lending activity was in the United States.

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Private lending in Canada primarily comes from life insurers, pension funds and asset managers. Perhaps counter-intuitively, banks themselves are also exposed to private credit by lending to funds who are involved in the space.

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The Bank of Canada noted that insurers and pension funds are stable investors in the private credit space. Domestic asset managers are a “small but growing” segment of the market, while banks’ exposures to private lending is considered relatively low-risk.

In its May financial stability report, the Bank of Canada deemed private credit risks “manageable,” but monetary policymakers think it’s still a space worth watching.

Private credit hasn’t been tested in a prolonged market downturn, so it’s unclear what kind of ripple effects the financial system would see from a shock like that.

“These exposures may help diversify portfolios and support returns, but they also create potential channels of contagion,” the Bank of Canada economists wrote last week.

“A sharp downturn in the performance of private credit abroad could affect Canadian investors and business lending in the domestic economy.”

Peter MacKenzie, senior policy analyst at the C.D. Howe Institute, said private credit emerged as an attractive option after the 2008-09 financial crisis, when big banks took a step back from loans for small- and medium-sized businesses and focused on safer, more established firms.

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Private lenders stepped in to fill that gap, MacKenzie said. Interest rates on private credit are usually be higher, but businesses might like the speed at which non-bank lenders can move and the relative flexibility of their terms.

MacKenzie said there’s a lack of transparency in private credit, however, where deals are usually negotiated behind closed doors.

“The opaqueness and not having an explicit definition of what private credit is for these different insurance companies, pension plans, banks to report in their financial statements — that alone I think is a bit of a risk,” he said.


The Bank of Canada’s analysts also flagged concerns about the complex structures and lack of visibility around private lending. Growth in private credit is happening “largely outside a regulatory environment,” which poses a bigger risk for investors and Canada’s financial stability, the central bank report noted last week.

Private companies also don’t have the same reporting requirements as a publicly held bank, limiting windows into how stringent underwriting standards are for some private lenders.

MacKenzie said today’s concern over private credit is tied to “friction” in the United States.

Last year’s bankruptcy of First Brands Group, a Texas-based auto parts manufacturer largely financed by private credit, was one of the high-profile collapses that sparked alarm in the space. Some major private credit funds capped withdrawals for investors this past spring as concerns spread over bad loans.

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In Canada, turmoil has been especially pronounced in private real estate funds. Firms like Trez Capital Fund Management, Centurion Asset Management Inc., Avenue Living Asset Management Ltd. and many others have temporarily halted or limited withdrawals from their funds over the past year.

An investor’s money is typically out on loan in private credit, which MacKenzie said means withdrawals typically happen on a stricter schedule than more liquid funds focused on stocks where assets can be bought and sold on a relatively easy basis.

Bruce Flatt, CEO of Canadian asset manager Brookfield Corp., said in a letter to shareholders last quarter that he was confident in the firm’s approach to the space after completing its acquisition of Oaktree, a U.S.-based fund with a significant private credit business.

Flatt dubbed the recent turbulence a “healthy adjustment” from a period in private credit where abundant capital led to loose underwriting standards.

“We do not, though, view today’s environment as a systemic problem, and the areas attracting the most attention represent only a very small part of the broader credit market,” Flatt wrote.

Outside stability concerns, MacKenzie said the exposure of Canadian banks to the private lending space could lead to a broader tightening of financial conditions if funds start to see their loans go bad. In that hypothetical, instead of lending to domestic firms, banks would be putting that money toward bailing out private credit funds.

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But he said he’s also wary that panic over private credit in the United States could lead domestic regulators to come down too hard on what has been a niche but stable source of capital for firms in Canada.

“You could have an effect like that, where we start overregulating the Canadian side because of what’s happening on the U.S. side, but then we lose out again on some of that much needed Canadian business investment,” he said.

This report by The Canadian Press was first published Aug. 23, 2026.

— with files from Ian Bickis

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    Hayden Panettiere’s estranged mother Lesley Vogel exclaimed that her daughter “didn’t want to be saved” in a shocking new DailyMail.com interview, suggesting that her daughter’s addiction had taken over her life.

    In the two-hour talk with the outlet, Vogel again lashed out at her daughter’s boyfriend Brian Hickerson, revealing that when police asked her for her thoughts on Hayden’s August 16 death, she replied, “I think he’s culpable.”

    It was the latest example of Vogel pinning blame directly on Hickerson.

    Vogel had already bashed Brian Hickerson in the wake of the tragedy, telling NBC News, “This person in her life that we have been trying to get rid of for quite some time was with her at her death and that was Brian Hickerson.”

    Hickerson’s negative impact on her daughter’s life was well-documented. Hayden wrote about him “[busting] up my face so badly I [didn’t] leave the house for weeks” in her current memoir “This Is Me: A Reckoning.”

    Brian Hickerson pleaded no contest to two felony counts of causing injury to Panettiere.

    In the same bombshell-laden interview with DailyMail.com, Vogel also expressed doubt about Hickerson’s brother Zach’s timeline surrounding her daughter’s death. Both Brian and Zach Hickerson were present in the Greenville, South Carolina, Airbnb where Hayden died.

    Zach told TMZ this week, “When I left church, I called and texted both of them. When I didn’t reach Brian or Hayden, I just assumed maybe they fell back asleep, so I drove over and went to the Airbnb. When I got there, I knew the code to the building but not the door code to the Airbnb.”

    Zach recalled, “I knocked loudly, which apparently woke Brian up from a nap they were both taking on the pull-out couch bed in the living room. When we went in and tried to wake Hayden up for lunch, we realized she was unconscious.” 

    As for what unfolded after, Zach told TMZ, “I immediately called 911 and Brian gave her Narcan. We then jointly performed CPR while 911 was on speaker until fire and EMS arrived. At that point, we watched as they tried every measure possible to save her life.”

    “I think there will be a discrepancy in the timeline,” Vogel told DailyMail.com, “meaning Brian had to go out and buy the Narcan while he left her there because I do not believe he happened to have two bottles of Narcan on him, like he carried them around in his back pocket. When the EMTs came it was for a cardiac arrest. People in cardiac arrest aren’t just lying still. They make noise.”

    The Hickersons were not the only objects of Vogel’s anger.

    Vogel was chastised by “CBS Mornings” host Gayle King, who questioned why Vogel had said of her daughter, “I think Hayden sadly lost her way and I wish it were different. I wish she had stayed true to herself because she had many incredible attributes.”

    King said, “It makes me so sad that of the opportunity that you have after your daughter’s death that that’s what you choose to leave us with.”

    Vogel responded to King’s comments in the DailyMail.com piece, calling King’s words “shameful.”

    Also on Sunday, iconic former child actor Melissa Gilbert posted a long essay expressing that Hollywood needs to address why former child actors so frequently face emotional, addiction, and financial issues.

    Police and the DEA continue to investigate the circumstances of Hayden’s tragic death at 36.

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    Netflix has added four to the cast of “One Piece” Season 3, casting the roles of Koza, Toto, Pell and Chaka. 

    Emilio Sakraya (“Rheingold”) will play Koza, Omid Abtahi (The Mandalorian”) will play Toto, Jamie Ward (“The Gentlemen”) will play Pell and Nabeel Khan (“Mandela: Long Walk to Freedom”) plays Chaka. 

    Returning for the third season, which is officially titled “One Piece: The Battle of Alabasta,” are Iñaki Godoy as Monkey D. Luffy, Mackenyu as Zoro, Emily Rudd as Nami, Jacob Romero as Usopp, Taz Skylar as Sanji, Charithra Chandran as Miss Wednesday, Mikaela Hoover as Chopper, Joe Manganiello as Mr. 0, Lera Abova as Miss All Sunday and Sendhil Ramamurthy as Nefartari Cobra. 

    Season 3 newcomers include Cole Escola as Bon Clay, Xolo Maridueña as Portgas D. Ace, Daisy Head as Miss Doublefinger and Awdo Awdo as Mr. 1. 

    Following the events of the show’s sophomore season, war is brewing for Monkey D. Luffy and the Straw Hat gang in Alabasta, Princess Vivi’s homeland. Per the series logline, “a rebellion threatens to tear the nation apart, fueled in secret by one of the Seven Warlords of the Sea, the ruthless Sir Crocodile, and his underground syndicate Baroque Works, who seek to conquer Alabasta for themselves. In a season defined by unbreakable bonds and impossible choices, the Straw Hats must face a brewing civil war and a powerful warlord to save Vivi’s kingdom before it crumbles into the sand.”

    Joe Tracz and Ian Stokes serve as co-showrunners, writers and executive producers. “One Piece” was created in partnership with Shueisha and produced by Tomorrow Studios and Netflix. 

    Executive producing are Eiichiro Oda, Marty Adelstein and Becky Clements through Tomorrow Studios, Tetsu Fujimura, Chris Symes, Christoph Schrewe and Steven Maeda. Production for Season 3 of the pirate adventure has wrapped in Cape Town, South Africa

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    Netflix has added four to the cast

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    Hollywood Latinos took over Beverly Hills on Friday night as the Imagen Foundation celebrated excellence in Latino film, television and streaming at the 41st Annual Imagen Awards, held at The Beverly Hilton.

    Presenting 33 awards recognizing artists, performers, filmmakers, producers and storytellers advancing authentic Latino representation across the entertainment industry, the ceremony’s highlight came with veteran actor Andy Garcia’s Lifetime Achievement Award presentation and special performance with his CineSon All Stars band.

    But the standout project of the evening was Apple TV’s “Acapulco,” which garnered multiple awards throughout the ceremony for its fourth and final season. Oscar Almengor was named Best Director, while Eugenio Derbez received Best Supporting Actor – Comedy and Vanesa Bauche received Best Supporting Actress – Comedy. Enrique Arrizon was also among the recipients of the Best Actor – Comedy tie for his performance in the series.

    The “Acapulco” team was further honored with the Creative Achievement Award, presented to Apple TV and Acapulco by Imagen Foundation founder and president Helen Hernandez. The series also received the award for Best Music Supervision for Film or Television, presented to Javier Nuño and Joe Rodríguez.


    Diamond Andy Garcia

    The evening also recognized “Brownsville Bred” as the year’s Best Feature Film and Dolores Fonzi with Best Actress for “Belén.” “Will Trent” was named Best Drama Series, while “Scrubs” received Best Comedy Series. Manuel Garcia-Rulfo was honored as Best Actor – Drama for “The Lincoln Lawyer,” and Amirah Vahn received Best Actress – Drama for “Doc.” Additional acting honors went to Michael Peña for “All Her Fault” and Arienne Mandi for “Chicago P.D.”

    Acclaimed actor, filmmaker, producer, and musician Garcia received the Imagen Foundation’s Lifetime Achievement Award, recognizing his four-decade career, groundbreaking storytelling and longstanding commitment to Latino representation. Actor Danny Pino (“Law & Order: Special Victims Unit”) presented him with his award.

    Andy Garcia performs on the timbales at the 41st Imagen Awards
    Andy Garcia performs on the timbales at the 41st Imagen Awards. (Credit: Salvador Ochoa)

    Following the presentation, Garcia and The CineSon All Stars took the stage for a special performance, joined by Grammy Award-winning musician and longtime Garcia collaborator Arturo Sandoval.

    “Andy Garcia represents the very best of what the Imagen Foundation has sought to celebrate for more than four decades,” Hernandez said in a statement to TheWrap. “From the first time he served as the host of the 4th annual Imagen Awards in 1989 to the present, he has developed a remarkable body of work, artistic integrity, and commitment to creating opportunities for Latino talent that have inspired generations of storytellers. Beyond his extraordinary achievements, Andy has remained a generous mentor and role model whose influence reaches far beyond the screen. We are honored to recognize his lifetime of contributions to our industry and our community.”

    Catch the full list of winners from Saturday’s ceremony below:

    Feature Film

    Best Feature Film
    “Brownsville Bred” — Del Valle Productions and Brownsville Bred LLC

    Best Actress
    Dolores Fonzi, “Belén” — Amazon MGM Studios, K&S Films

    Music

    Best Music Composition for Film or Television
    Tomas Videla, “The House of the Spirits” — Amazon MGM Studios, FilmNation Entertainment, Hyphenate Media Group

    Best Music Supervision for Film or Television
    Javier Nuño and Joe Rodríguez, “Acapulco” — Apple TV+; Lionsgate Television/3Pas Studios/The Tannenbaum Company for Apple

    Television

    Best Drama Series
    “Will Trent” — ABC, 20th Television

    Best Comedy Series
    “Scrubs” — ABC, 20th Television

    Best Special or Television Movie
    “Marcello Hernández: American Boy” — Rotten Science for Netflix

    Best Director
    Oscar Almengor, “Acapulco” — Apple TV+; Lionsgate Television/3Pas Studios/The Tannenbaum Company for Apple

    Best Actor — Drama
    Manuel Garcia-Rulfo, “The Lincoln Lawyer” — Netflix; A+E Studios

    Best Actress — Drama
    Amirah Vahn, “Doc” — Sony Pictures Television, FOX Entertainment

    Best Supporting Actor — Drama
    Michael Peña, “All Her Fault” — Peacock Original, Universal International Studios, a division of Universal Studio Group, Carnival Films

    Best Supporting Actress — Drama
    Arienne Mandi, “Chicago P.D.” — Universal Television, a division of Universal Studio Group, in association with Wolf Entertainment

    Best Actor — Comedy (Tie)
    Enrique Arrizon, “Acapulco” — Apple TV+; Lionsgate Television/3Pas Studios/The Tannenbaum Company for Apple

    Stephanie Beatriz, “Twisted Metal” — Sony Pictures Television, Universal Television, a division of Universal Studio Group, PlayStation Productions, Electric Avenue, Artists First, Make It With Gravy, Inspire Entertainment, Wicked Deed, Reese Wernick Productions

    Best Supporting Actor — Comedy
    Eugenio Derbez, “Acapulco” — Apple TV+; Lionsgate Television/3Pas Studios/The Tannenbaum Company for Apple

    Best Supporting Actress — Comedy
    Vanesa Bauche, “Acapulco” — Apple TV+; Lionsgate Television/3Pas Studios/The Tannenbaum Company for Apple

    Best Young Actor
    Arian S. Cartaya, “IT: Welcome to Derry” — HBO in association with Rideback, Vertigo Entertainment, FiveTen Productions, K Plus Ultra, Double Dream and Warner Bros. Television

    Best Voice-Over Actor
    Daphne Rubin-Vega, “Hazbin Hotel” — Amazon MGM Studios, A24, Bento Box Entertainment

    Best Variety or Reality Show
    “Leguizamo Does America,” Season 2 — MSNBC Films, NBC News Studios, Casa NoHo Studios

    Best Youth Programming
    “Rosie’s Rules” — 9 Story Media Group, Brown Bag Films

    Best Documentary
    “Selena y Los Dinos” — Polygram Entertainment, Amsi Entertainment and Motto Pictures for Netflix

    Best Informational Program
    “ABC News Live — Last Lands: Guatemala” — ABC News Live

    Best Short Film
    “Roxy & The Man” — Bronx Boy Entertainment, Bing Productions

    Best Student Film
    “¡Que Suene La Banda!” — UCLA School of Theater, Film and Television

    Best Podcast
    “Say What You Mean” — Dancing with Raymond Media House

    Best Online Content Creator
    Jesus Nalgas (@jesusnalgas)

    Special Awards

    President’s Award
    Supervisor Hilda L. Solis

    Lifetime Achievement Award
    Andy Garcia

    Creative Achievement Award
    Apple TV+ and “Acapulco”


    acapulco-eugenio-derbez-apple

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    Hollywood Latinos took over Beverly Hills on

    Entertaintment

    Nostalgia, like ecstasy, is a hell of a drug and Kieron J. Walsh’s warm-hearted, hot-headed “Skintown” is buzzing on both. A more polite brother to the “Kneecap” boys and a more cautious cousin to those “Derry Girls” still, the Fermanagh-set friendship comedy sends fizzy, sweetly chemical energy coursing through a rave-romanticizing riff on the coming-of-age […]

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    Nostalgia, like ecstasy, is a hell of

    Entertaintment

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    I remember logging into a casino that

    MCU

    Pedro Pascal is bouncing back from a rough outing at the box office, and he’s doing it in arguably the biggest way possible. His career, in part, took off thanks to Disney+’s The Mandalorian, the show that turned him into one of the industry’s most in-demand stars of the 2020s. That momentum ran into trouble earlier this year when the show’s big-screen spinoff, The Mandalorian and Grogu, failed to connect with audiences quite like Lucasfilm had hoped. Now Pascal is set to close out the year by helping lead one of the biggest franchises in Hollywood history.

    As every MCU fan knows, Pedro Pascal is joining the Avengers franchise as Reed Richards in Doomsday, out in a few months on December 18, and he’s expected to reprise the role again in Secret Wars, set for December 17, 2027. This jumping of franchises will happen about four months after The Mandalorian and Grogu left US theaters on August 6 after a 77-day run. The movie bowed with $345.7 million worldwide, less than every other Disney-era Star Wars film, including Solo: A Star Wars Story. It was an underwhelming theatrical return for Star Wars after seven years on streaming, to say the least.

    Star Wars

    Pascal first played Reed in 2025’s The Fantastic Four: First Steps, which wrapped its run with $521.8 million worldwide. Nothing record-shattering by Marvel Studios standards but certainly better than his Star Wars movie did this year.

    The Avengers franchise itself is on another level. From 2012’s The Avengers through 2019’s Avengers: Endgame, the series has earned more than $7.7 billion worldwide, making it one of the most successful franchises in Hollywood history. 

    Avengers: Doomsday is expected to be one of 2026’s highest-grossing releases, though catching up to Spider-Man: Brand New Day, which just crossed $2 billion worldwide, may be a tall order.

    Reed Richards in Avengers: Doomsday.
    Marvel Studios

    Pascal’s role in Doomsday also seems larger than some might have expected. He lands fourth in the film’s official billing order, behind only Doctor Doom (Robert Downey Jr.), Steve Rogers (Chris Evans), and Thor (Chris Hemsworth), and ahead of Scott Lang (Paul Rudd) and the rest of the ensemble.

    Reed Richards in Avengers: Doomsday.
    Marvel Studios

    Even so, Pascal has been careful about how he frames his role in Doomsday. Describing Reed’s mindset toward Doom, he told Entertainment Weekly, “Intellectuals understand that we’re all responsible for ourselves.” 

    Doomsday‘s second trailer, unveiled at D23, confirmed Reed and Victor have history, with Sue Storm (Vanessa Kirby) describing Doom as someone who “used to be very different” and Reed aggressively confronting him: “Did you do this?!”

    Speaking with reporters following the San Diego Comic-Con Hall H panel, Pascal explained that he approaches the character through a “very singular” way, pointed toward Doom and their relationship:

    “The world that we’re in, and the way that I understand it through Reed, at least, is very singular to the relationship that I have to Doom. And I guess there is a big barrier between the context that we all have as audience members to the experience of Avengers, and the incredible way that all of it is threaded together as we have X-Men sitting with us in this group. It’s very easy for me to be single-focused through the perspective of the character as it relates to somebody like Victor Von Doom.”

    That singular focus is also why Pascal pushed back on an idea seemingly floated by First Steps director Matt Shakman in an earlier interview, that Reed leads the Avengers in the film. Speaking to the Associated Press (via Variety), Pascal called it “a bit of a mislead:” 

    “It’s big news to me, that’s for one. I think Matt Shakman was doing an interview and when he was speaking about Reed… there is something that happens in the comics where he is sort of drawn in by the Avengers family and asked to be put into a leadership position. That is something that happens in the comics. It isn’t necessarily something that my character’s future entails. I am being honest in that. I am not even trying to avoid spoilers. It’s a little bit of a mislead.”

    While for Reed, the story of Doomsday may be deeply personal, there’s no escaping the super-sized feeling around this movie. With what’s understood to be a massive budget comes lofty box office expectations. And in a year of Pascal playing a major role in two of Disney’s biggest releases, there’s going to be a clear winner come this December.

    Why Doomsday Will Outgross The Mandalorian and Grogu

    Wider Appeal & Momentum

    Din Djarin and Grogu in the Razor Crest in The Mandalorian & Grogu.
    Lucasfilm

    Some fans have their doubts about how Doomsday will hold up, especially stacked against a monster like Endgame. But the Avengers brand has always been singularly cinematic and theatrical, the kind of event that pulls people into theaters in a way Disney+ spinoffs can’t. 

    It also helps that it’s been over seven years since the last Avengers movie hit theaters. That kind of absence should work a lot better for Marvel than Star Wars’ constant presence has worked for that franchise lately. 

    And even though 2025 wasn’t the most red-hot year for Marvel Studios at the box office, between Captain America: Brave New World, Thunderbolts*, and The Fantastic Four: First Steps, Doomsday is already generating plenty of buzz coming off of SDCC and D23.

    Riding the Spider-Man High

    Tom Holland's Spider-Man in Spider-Man: Brand New Day.
    Sony Pictures

    Spider-Man: Brand New Day is playing a role here, too, even indirectly. The movie is on track to become the third-highest-grossing film of all time, trailing only Endgame and 2009’s Avatar. 

    The thing about Spider-Man is that, at the end of the day, it’s distributed by Sony Pictures, so audiences do see less of an MCU connection with these movies, and it didn’t do much to set up Doomsday‘s story directly. But it’s hard to ignore the shift in vibe it’s created. People feel more excited about Marvel right now than they have in a long time. 

    And then the big one. If word gets out that one of the live-action Spider-Men is popping up in Doomsday somewhere, that excitement could skyrocket.

    Marvel Is Bigger Than Star Wars

    Sam Wilson alongside Professor X and Reed Richards in the MCU.
    Marvel Studios

    At the end of the day, an Avengers movie is simply the biggest thing Marvel Studios has to offer, especially once Spider-Man is removed from consideration, since he still belongs to Sony. 

    Looked at as a straight Disney slate comparison, Avengers was always going to be bigger than The Mandalorian and Grogu, mainly because that movie was a spin-off in Star Wars terms, not a flagship. 

    Something closer to an Episode X-style movie might have stood a better chance of competing on Star Wars’ behalf. Until Lucasfilm gets there, the hope for Star Wars rests on smaller bets like Ryan Gosling’s Star Wars: Starfighter, which just debuted its first footage at D23.

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    DCU

    The DC Universe will eventually bring Diana Prince into James Gunn’s superhero franchise.

    While the DCU’s Chapter 1: “Gods and Monsters” has introduced its new Superman in DC Studios’ reboot, there are still many heroes who have yet to enter Gunn’s continuity. As audience members are sharing fan-castings all the time of who they want to see as various members of the Justice League, one star has almost given them what they want.

    Anyone But You’s Sydney Sweeney shared on Instagram several images of herself as Wonder Woman, along with someone being suited up as Superman, based on Henry Cavill’s iteration. Check out the gallery below:

    Sweeney’s Wonder Woman suit is seemingly based on Linda Carter’s design from the popular TV series in the 1970s. While she hasn’t been tapped to play Diana on the big screen, the DCU’s Wonder Woman movie is currently in development at DC Studios.

    The film was first announced in June 2025, with Supergirl scribe Ana Nogueira hired to write the screenplay. However, as of writing, a director has not been tapped yet, as the project has not landed a release date at DC Studios for the time being.

    While Gal Gadot was the last person to play Diana in the DCEU movie timeline, she will not be coming back as part of the DCU. So far, Wonder Woman has only appeared through Creature Commandos, one of the animated properties in Gunn’s ongoing franchise. However, it was a brief cameo where she had no dialogue that took place in a hypothetical future where she and other Justice League members were seen dead.

    Very little is known about the Wonder Woman feature, other than a recent update from Tom King, who co-developed Lanterns for HBO and is running the Mister Miracle series. The comic book writer stated in an interview with Inverse, “For a while I had a job where I was a consultant — like a nerd consultant — so I worked on a lot of different sort of [DC] projects. But between Lanterns and Mister Miracle… I’m not involved in Wonder Woman except to say I hope it’s going to be utterly brilliant. I hope the people who are building it stay true to who that character is, because she’s just one of the greatest heroines ever created.”

    DC Studios also has another Wonder Woman project in the works, but for the world of television. Paradise Lost, which would serve as a prequel and take place before Diana’s birth, was announced back in January 2023. While the potential series is reportedly on the back burner, it would explore Themyscira and its inner politics.

    As far as casting Diana for the DCU goes, it remains to be seen if Sweeney will even be considered for the part. Given that the solo movie isn’t even close to being fully greenlit, DC Studios is unlikely to start looking for the lead role anytime soon. Once the script and concept have been formally finalized, they are likely going to start looking for a filmmaker first before they commence with building the cast.

    DC Studios’ Wonder Woman reboot has yet to land a release date.

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    The DC Universe will eventually bring Diana

    Comics

    During Mistfall Hunter’s launch, they held an in-game event called Gylden Rush where players farm some rare Ciphers while hunting, extract them, and have them deciphered at camp.

    Each decipher has a chance of getting in-game loot such as expensive legendary or even holy items, but the grand prizes include a complete Alienware Gaming Desktop boasting an Intel Core Ultra 9 processor, 64GB of RAM, and an NVIDIA GeForce RTX 5080.

    In today’s market, that gaming setup is worth around $3,899.99, also dependent on your location and availability. And if there are any forecasts out there, everyone knows that the price is just going up. Now, one lucky winner finally won the grand prize two weeks after the launch.

    Mistfall Hunter’s Gylden Rush Event Winner Announced

    The team has announced the grand prize winner, REDSNAKE, who will receive a gaming desktop equipped with an Intel Core Ultra 9 processor, 64GB of RAM, and an NVIDIA GeForce RTX 5080. The winner plays on the international servers and will receive an in-game mail to claim the prize.

    Now that the grand prize is gone, players can still get their ciphers to get in-game loot until the event ends. The Golden Cipher event lasts until August 20, so players can still capitalize on getting more in-game currency or items from deciphers.

    I mean, everyone just gets 450 Gyldenblod most of the time, but make sure you choose the right NPC when deciphering these Golden Ciphers. Each unique Golden Cipher has clues or keywords and a specific NPC who understands its meaning, can decipher it, and give you some bonus loot apart from the initial reward.

    That’s still a big bonus whenever you get lucky, especially with how hard it is to sustain your Gyldenblod when running expensive loadouts in Chaos or Cataclysm hunts.

    Hopefully, they host more of these fun events in the future to keep engagement and activity in the game going.

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    Festivals

    MoreThan Films has acquired Colombian filmmaker Sebastián Múnera‘s film “Meteorite,” which will have its world premiere in Venice Critics’ Week (Sept. 2-12).

    The film follows Tefa and Nia, who live in a small town near the Magdalena River, where they raise Nia’s young nephew. Nia persuades Tefa to join her in smuggling cellphones into the regional prison. Their journey leads them through an extravagant amusement park built on the grounds of a drug lord’s former estate.

    “As they wander among water slides, verdant paths, and concrete dinosaurs, disquieting memories whisper in the summer heat. In a landscape where violence lingers beneath every surface, Tefa is drawn toward an inevitable encounter,” according to the synopsis.

    Queralt Pons Serra, managing partner at MoreThan Films, said, “What excited us about ‘Meteorite’ from the beginning was the strength and singularity of Sebastián’s gaze. You can really feel his artistic background in the way he approaches images, spaces and textures, creating a world that is incredibly cinematic, beautiful and also deeply emotional. There is something very immersive and atmospheric about the film that stayed with us long after watching it.”

    Múnera is a Colombian visual artist and filmmaker. He was a resident at the Cité Internationale des Arts in Paris, invited by the Centre Georges Pompidou. His films have been selected at festivals such as IFFR Rotterdam, DOK Leipzig and FICCI Cartagena. He has received distinctions including the Humberto Solás Cine en Construcción Award and the International Symposium on Auteur Cinema Altiplano Incuba Award.

    “Meteorite,” his first fiction feature, was awarded at work-in-progress programs in Málaga and Cartagena.

    The producers are Sebastian Martinez, Mauricio S. Burckhardt (Haus Kino), Valeria Mejia, Sebastián Múnera (Entre Acto), Abel Villa Romero, Deimer Quintero Vertel (Archipiélago Sonoro) and Rodrigo Ramos (Pos[T] La Casa).

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    MoreThan Films has acquired Colombian filmmaker Sebastián

    Entertaintment

    Kun katselin nettikasinoa, en tyydy pelkkään pelilistaan. Aion tietää, miten eri pelit pelaavat, kuinka nopeasti rahat kulkevat ja mitkä bonusehdot vaikuttavat voittoihin. Lussurio Casino on suunniteltu yksinkertaiseen pelaamiseen ja lukuisiin eri tapoihin hakea voittoja. Tarkastelen tässä koko paketin niin kuin arvioisin sen ennen ensimmäistä talletusta, mukaan lukien todelliset maksutavat ja vastuullisen pelaamisen työkalut.

    Alkuvaiheen askeleet ja tilin käyttöönotto

    Tilin luominen Lussuriolle alkaa sähköpostista ja salasanasta, minkä jälkeen valitset eurot valuutaksi. Eurot helpottavat talletusten ja nostojen tarkkailusta helppoa suomalaiselle pelaajalle, koska sinun ei tarvitse valuuttamuunnoksia. Itse tarkastelen aina ikärajan ja sen, että pelaaminen on hyväksyttyä omasta asuinpaikastani käsin. Tämän jälkeen pääset tekemään ensimmäisen talletuksen ja etenemään pelien pariin.

    Vahvistaminen on olennainen osa varmaa kasinokokemusta. Ennen ensimmäistä nostoa sinulta on mahdollista pyytää henkilöllisyystodistus, osoitetodistus tai kuitti hyödyntämästäsi maksutavasta. Tämä ei ole vaivaa, vaan se suojaa tiliäsi ja torjuu rahanpesua. Neuvon toimittamaan dokumentit tarkkoina ja molemmat puolet näkyvissä, jotta vahvistus sujuu ilman lisäkysymyksiä.

    Ennen kuin pistän rahaa, määritän itselleni aina talletusrajan ja häviörajan. Lussurion hallitun pelaamisen työkalut näyttävät, mitkä rajat ovat saatavilla, ja voit säätää niitä suoraan omalta tililtäsi. Näin pelaaminen jatkuu viihteenä eikä käänny tappioiden metsästykseksi. Hyvä ohje on päättää yläraja etukäteen ja noudattaa siitä kiinni myös voittoputken aikana.

    Maksuvaihtoehdot ja siirtojen nopeus

    Rahansiirtojen toimivuus on minulle tärkeä tekijä kasinoa valitessa, koska en halua jäädä odottamaan voittojani viikkoja. Lussurio mahdollistaa useita suomalaisille tunnettuja maksutapoja, kuten verkkopankkimaksuja, luottokortteja ja monenlaisia lompakoita. Talletukset kirjautuvat tilille välittömästi, joten voit pelaamaan heti kun olet vahvistanut siirron omassa verkkopankissasi.

    Nostojen käsittelyaika riippuu valitsemastasi maksutavasta, mutta Lussurio pyrkii käsittelemään kotiutukset 24 tunnin aikana. Lompakoihin kuten Skrilliin ja Netelleriin rahat saapuvat usein saman päivän kuluessa, kun taas pankkisiirtoihin voi mennä yhdestä kolmeen pankkipäivää. Olen itse todennut, että mitä nopeammin toimitan tarvittavat vahvistusasiakirjat, sitä nopeammin ensimmäinen nostokin käsitellään.

    Valuutta ja lisämaksut

    Eurojen käyttäminen pelivaluuttana poistaa valuutanvaihtokulut, jotka voivat syödä voitoista yllättävän suuren osan muilla kasinoilla lussurio-fi.fi. Kun talletat ja nostat euroissa, näet aina tarkalleen paljonko rahaa liikkuu ilman piilokuluja. Tämä on erityisen tärkeää silloin, kun teet useampia pieniä nostoja etkä halua jokaisesta siirrosta erillistä valuuttakonversiomaksua.

    Lussurio ei peri omia palvelumaksuja talletuksista tai nostoista, mutta oma pankkisi tai lompakkopalvelusi saattaa veloittaa pienen siirtomaksun. Suosittelen tarkistamaan tämän suoraan omalta palveluntarjoajaltasi ennen suurempia siirtoja. Itse käytän mieluiten lompakoita, koska niiden siirtokulut ovat yleensä kiinteät ja ennakoitavissa.

    Asiakastuki ja ongelmien selvittäminen

    Asiakastuen saavutettavuus on minulle olennainen mittari, koska ongelmat eivät katso kellonaikaa. Lussurion live-chat on auki vuorokauden ympäri, ja olen saanut vastauksen yleensä alle minuutissa yhteydenotosta. Tukihenkilöt puhuvat suomea, mikä poistaa väärinkäsitysten riskin silloin kun käsitellään maksuja tai bonusehtoja.

    Chatin rinnalla tarjolla on sähköpostituki, jota hyödynnän silloin kun asia ei ole kiireellinen tai haluan liittää mukaan kuvakaappauksia. Vastausajat sähköpostitse ovat olleet hyväksyttävät, yleensä muutaman tunnin sisällä arkisin. Itse pidän tärkeänä sitä, että saan saman tukihenkilön jatkamaan keskustelua sen sijaan, että joutuisin selittämään ongelmani aina uudelleen.

    Usein kysytyt kysymykset ja itsepalvelu

    Ennen kuin kysyn tukeen, selailen aina UKK-osaston kautta, koska sieltä löytyy vastaus yleisimpiin kysymyksiin hetkessä. Lussurion UKK sisältää aiheet tilin vahvistamisesta bonuslaskentaan, ja vastaukset on kirjoitettu selkeällä arkikielellä. Tämä säästää aikaa sekä minulta että tukihenkilöiltä, ja usein ongelma selviää jo ennen kuin kerkeän avata chatin.

    Itsepalvelutyökalut esimerkiksi salasanan vaihto, talletusrajojen säätö ja pelihistorian selaus toimivat suoraan tililtä ilman tuen osallistumista. Koen tätä osoituksena siitä, että kasino uskaltaa pelaajiinsa ja antaa heille hallinnan omasta pelaamisestaan. Mitä vähemmän joudun odottamaan tukihenkilön vastausta perusasioissa, sitä mukavampi käyttökokemus yhteensä on.

    Pelivalikoiman ydin: kolikkopelit, pöytäpelit ja livekasino

    Lussurion pelivalikoima on jaettu selkeisiin pääryhmiin, joista jokainen antaa omanlaisensa tavan voittaa. Kolikkopelit sopivat nopeisiin kierroksiin, pöytäpelit vaativat enemmän strategiaa ja livekasino tarjoaa aidon pöytäkokemuksen suoraan ruudulle. Itse pidän sitä, että pelit on lajiteltu järkevästi, jolloin saavutan etsimäni muutamassa sekunnissa ilman turhaa selailua.

    Monipuoliset kolikkopelien mekaniikat

    Kolikkopelit kattavat Lussurion laajimman kategorian, ja sieltä on saatavana monenlaista klassisista hedelmäpeleistä moderneihin Megaways-peleihin. Megaways-mekaniikka tarkoittaa, että voittolinjojen määrä vaihtuu jokaisella kierroksella, mikä saattaa tuoda jopa satojatuhansia tapoja voittaa yhdellä pyöräytyksellä. Olen itse todennut, että tämä tekee kierrokset jännittävinä, koska et koskaan tiedä etukäteen, millainen rumpuasetelma seuraavaksi aukeaa.

    Progressiiviset jackpotit ovat toinen suosikkini, sillä niissä päävoitto lisääntyy jokaisesta panoksesta, kunnes joku onnekas sen voittaa. Lussuriolta on tarjolla sekä paikallisia että verkotettuja jackpot-pelejä, joissa potit kohoavat miljooniin euroihin. Kannattaa kuitenkin pitää mielessä, että jackpot-peleissä panostaso on merkitystä usein siihen, oletko oikeutettu päävoittoon. Tarkastan aina pelin säännöt ennen kuin aloitan kierrokset.

    Pöytäpelien strateginen merkitys

    Pöytäpelaamisen puolella blackjack, ruletti ja baccarat tuovat pienemmän taloedun vastaten useimpiin kolikkopeleihin. Blackjackissa talon etu voi parhaimmillaan painua alle prosenttiin, jos noudattele optimaalista strategiaa. Itse säilytän mukanani perusstrategiataulukkoa, kun pelaan, koska se eliminoi turhat arvailut ja säilyttää pelikassan hallinnassa pidempään.

    Rulettia pelatessani suosin eurooppalaista versiota, jossa on vain yksi nolla amerikkalaisen kahden nollan sijaan. Tällä pienellä valinnalla talon etu vähenee, ja saat tasapuolisemman pelin pitkässä juoksussa. Lussuriolta saa useita rulettivariantteja, mukaan lukien nopeatempoiset pikaversiot, joissa kierros kestää vain muutaman sekunnin.

    Livekasinon autenttinen tunnelma

    Livekasino on minulle se paikka, jossa nettikasinon ja kivijalkakasinon raja hämärtyy. Oikeat jakajat, aidot pöydät ja reaaliaikainen videostriimi synnyttävät tunnelman, jota pelkkä satunnaislukugeneraattori ei pysty toistamaan. Lussurion livevalikoima kattaa perinteiset pöytäpelit, mutta myös peliohjelmat kuten Crazy Time ja Monopoly Live, joissa bonuspelit voivat moninkertaistaa panoksesi.

    Livekasinolla panosvaihtoehtoja on tarjolla monipuolisesti, joten pöytään mahtuu sekä harkitsevainen aloittelija että rutinoitunut high roller. Itse pääsen liikkeelle aina vähäisemmillä panoksilla, kunnes opin jakajan rytmin ja pöydän kokonaisilmapiirin. Chat-toiminto lisää lisämausteen, sillä voit jutella jakajan ja muiden pelaajien kanssa samaan aikaan kun tarkkailet pelin kulkua.

    Mobiilipelaaminen ja käyttöliittymän sujuvuus

    Enin osa pelaamisestani tapahtuu puhelimella, joten mobiilikokemuksen on oltava moitteettomasti. Lussurion sivusto pelaa suoraan selaimessa ilman erillistä sovellusta, mikä säästää tilaa puhelimen tallennustilaa ja pitää kaiken ajan tasalla automaattisesti. Pelit aukeavat nopeasti ja asettuvat näytön kokoon riippumatta siitä, käytät vaakaa vai pystyasentoa.

    Käyttöliittymän navigaatio on rakennettu peukaloystävälliseksi, joten tärkeimmät toiminnot kuten talletus, pelihaku ja asetukset ovat näytön alareunasta. Itse pidän sitä, että pelit on luokiteltu selkeisiin kategorioihin ja hakutoiminto etsii pelin nopeasti muutamalla kirjaimella. Sivusto ei myöskään jumiudu, vaikka selaisin kymmeniä pelejä putkeen, mikä osoittaa hyvästä teknisestä toteutuksesta.

    Videovirta ja livepelit mobiilissa

    Livekasinon striimit sujuvat puhelimella yhtä laadukkaasti kuin tietokoneella, kunhan verkkoyhteys on vakaa. Olen kokeillut live-blackjackia bussissa ja havainnut, että 4G-yhteys kelpaa mainiosti teräväpiirtostriimiin ilman katkoksia. Lussurion livepelit on viritetty mobiililaitteille, joten painikkeet ovat riittävän isoja eikä vahinkopainalluksia synny.

    Pöytäpelien mobiiliversioissa panosten tekeminen on tehty helpoksi pyyhkäisemällä sormea panostusalueen yli. Tämä on selvästi nopeampaa kuin perinteinen klikkailu, ja se tekee nopeatempoisista kierroksista sujuvampia. Itse suosin mieluiten vaakasuuntaista näyttöä livepeleissä, koska silloin pöytä esiintyy kokonaisuudessaan ilman vierittämistä.

    Tarjoukset ja niiden ehdot

    Aloitustarjous on usein se tekijä, miksi pelaaja valitsee tietyn kasinon, mutta henkilökohtaisesti tarkastelen aina bonuksen taakse. Lussurion bonusehdot on kirjoitettu selvästi, ja kierrätysvaatimukset mainitaan avoimesti bonussivulla ilman mitään kätkettyjä ehtoja. Panostusvaatimus tarkoittaa sitä, kuinka monta kertaa bonusraha täytyy sijoittaa peleissä kunnes voit nostaa voittoja.

    Jos saavutat 100 euron bonuksen 35-kertaisella kierrätyksellä, pelaajan on panostaa kaikkiaan 3500 euroa ennen nostoa. Kaikki pelit eivät kuitenkaan kerrytä samansuuruisella painoarvolla. Rahapeliautomaatit panostavat normaalisti 100 %, mutta pöytäpelit saattavat panostaa pelkästään 10 prosenttia tai ei lainkaan. Tarkistan aina pelikohtaiset kertoimet kunnes ryhdyn panostamisen, jotta minä en pelaa turhaan vääränlaisia pelejä.

    Cashback ja uskollisuusohjelman edut

    Käteispalautus eli cashback on henkilökohtaisesti eräs konkreettisista menetelmistä saavuttaa lisäetua pelitoiminnasta. Lussurio hyvittää osan tappioistasi takaisin oikeana rahana, ei bonusrahana, mikä tarkoittaa tarkoittaa sitä että kykenet kotiuttaa sen välittömästi ilman kierrätysvaatimusta. Tämä lieventää huonompien pelisessioiden tappiota ja antaa pelaajalle uuden chanssin pelata seuraavana päivänä.

    Uskollisuusohjelma antaa palkintoja säännöllisen pelitoiminnan, ja portaat etenevät siten kun kerrytät pisteitä. Korkeammilla tasoilla hankit edullisempia vaihtosuhteita pisteistäsi, nopeampia kotiutuksia ja henkilökohtaisen tukihenkilön. Minä arvostan erityisesti sitä, että edut konkretisoituvat nopeasti eivät jää pelkäksi lupaukseksi jostain kaukana olevasta palkinnosta. luotettava lähde

    Vastuullinen pelaaminen ja hallinnan työkalut

    Vastuullinen pelaaminen ei ole minulle ainoastaan pakollinen maininta, vaan konkreettinen osa jokapäiväistä kasinokokemusta. Lussurio antaa työkaluja, joilla voit laatia talletusrajoja, häviörajoja ja aikarajoja suoraan omalta tililtäsi. Nämä rajat tulevat voimaan välittömästi, ja niiden nostaminen vaatii taukoajan, mikä ehkäisee impulsiiviset päätökset tappioputken keskellä.

    Itsesulkutoiminto on olemassa olosuhteisiin, joissa pelaaminen uhkaa karata käsistä. Voit sulkea tilisi tietyksi ajaksi tai pysyvästi, eikä kasino toimita sinulle markkinointiviestejä sulun aikana. Itse käytän istuntokohtaista aikarajaa, joka kehottaa minua pitämään tauon tietyn peliajan jälkeen. Tämä on selkeä mutta tehokas tapa pitää pelaaminen viihteen puolella.

    Panostusten hallinnan säännöt

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    Kun katselin nettikasinoa, en tyydy pelkkään pelilistaan.

    TV

    Get ready for another treasure hunt: A third National Treasure movie is happening, according to director Jon Turteltaub.

    Speaking at a live taping of the National Treasure Hunt podcast Friday night in Philadelphia, Turteltaub said, “It’s happening. You’re the first people I’ve said this out loud to. I have not said anything before this, but you deserve to have the scoop. It’s finally real. Now, it’s ‘Hollywood real,’ meaning things could happen. Nic [Cage] gets hit by a bus, there’s no National Treasure 3. If I get hit by a bus, there’s probably a National Treasure 3. Welcome to Hollywood.”

    “We finally have a script that I like,” he said before adding before revealing that Disney said, “OK, this sounds like a movie we can make.”

    The Hollywood Reporter reached out to Disney for comment and they declined.

    The first National Treasure film was released in 2004 and followed Cage as historian Ben Gates, who steals the Declaration of Independence to find a map to an ancient, rumored treasure before anyone else can get to it. Harvey Keitel, Jon Voight, Diane Kruger, Sean Bean, Justin Bartha and Christopher Plummer also starred in the film, which grossed $347 million at the global box office.

    The 2007 follow-up, National Treasure: The Book of Secrets, earned $459 million worldwide and added Helen Mirren, Ed Harris, Bruce Greenwood and Ty Burrell to the cast.

    The franchise later expanded to television with National Treasure: Edge of History, which premiered on Disney+ in 2022 but was canceled after one season. Catherine Zeta-Jones joined the cast, while Bartha and Keitel reprised their roles.

    As for the third feature, no casting has been announced. THR reached out to Cage’s representative for comment.

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    Get ready for another treasure hunt: A

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    Ich spiele seit Jahren auf den verschiedensten

    What to Watch







     Pascal Le Segretain/Getty Images

    “Grey’s Anatomy” wouldn’t exist without Ellen Pompeo’s Meredith Grey, whose foundational presence on the acclaimed medical drama is nothing short of iconic. Pompeo has garnered several accolades for playing Meredith over the years, including a Golden Globe nomination for Best Performance by an Actress in a Drama Series and a Screen Actors Guild Award for Outstanding Performance by an Ensemble in a Drama Series.

    Before her work on “Grey’s Anatomy,” Pompeo kicked off her television career with NBC’s “Law & Order,” followed by guest roles on shows like “Strangers with Candy,” “Strong Medicine,” and “Friends.” In recent years, Pompeo has appeared in “Station 19” (a spin-off of “Grey’s Anatomy”), “Repeat After Me,” and “Good American Family.” The actress has also crossed over to film, making her debut in the medium with the 1999 romantic comedy, “Coming Soon.”

    Pompeo’s historic run on “Grey’s Anatomy” showcases an incredible amount of skill and commitment as an actor, which is why she is today’s quote of the day.

    Quote of the Day by Ellen Pompeo


    Image quote for QOTD
    Static Media

    “When you have a platform and you have any type of privilege, I like to try to use it to lift other people up. I think it’s important to use your voice.”

    The above quote comes from Pompeo’s visit to “The Kelly Clarkson Show” in March 2025. While speaking about the fight for equal pay for women in television, Pompeo urged folks to speak up against any sort of prejudice or injustice. Pompeo added that while she doesn’t need to self-advocate for equal pay at this stage of her long and successful career, she recognizes the importance of using one’s privilege to help out anyone in need of assistance.

    Deeper meaning of Ellen Pompeo’s quote — use your voice to help others


    Ellen Pompeo at a press event
    Amanda Edwards/Getty Images

    Pompeo has been outspoken about her efforts to fight for equal pay on the set of “Grey’s Anatomy,” especially in relation to her co-star, Patrick Dempsey, who played Derek Shepherd on the show. 

    “I’m not saying [Dempsey] didn’t deserve that money. It’s just, being that I was the namesake of the show, I deserved the same, and that was harder to get,” Pompeo said on the “Call Her Daddy” podcast while explaining why she chose to fight for herself and “all the other women coming up behind her.”

    Pompeo lives by her own words, making consistent attempts across her career to level the playing field for female actors in television. 

    “You really do have a responsibility to look and see what everybody else is making and use your power to say, ‘Listen, I appreciate what I got. But I really think that all the women deserve a bump,'” she told E! News in 2025.

    Because of her recognition, Pompeo has admitted that she no longer has to fight for equal pay for herself, but she wants to use her platform to make sure that other voices will be heard.

    More quotes from Ellen Pompeo


    Ellen Pompeo at a press event
    Jamie Mccarthy/Getty Images
    • “You know, with everything that happens in our experience, if we come out the other side of that stronger and better and able to voice for others to speak sooner, it’s all worth it.” — from an interview with Shondaland
    • “There’s something sort of strange about fame, and there’s something sort of strange about the way we idolize other human beings. A lot of my fans are young. I think it’s important to try to be as authentic as possible for them because they see so much inauthenticity online.” — from a 2018 interview with Parade
    • “You can look at a long journey like, ‘I gotta get off this bus. I gotta jump off. It’s too long.’ But then, there’s something empowering about saying, ‘I’m going to stay on and see where this takes me. I’m going to have the curiosity. I’m going to have faith in myself to stay on this bus, take it mindfully, grow from it, and just trust in the universe that it’s taking me somewhere good.'” — from an interview with Shondaland



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    Awards

    On Friday nights, IndieWire After Dark honors fringe cinema in the streaming age with midnight movies from any moment in film history.

    First, the BAIT: a weird genre pick, and why we’re exploring its specific niche right now. Then, the BITE: a spoiler-filled answer to the all-important question, “Is this old cult film actually worth recommending?”

    The Bait: Welcome to Film Serials, Where the Genre Is Made Up and the Points Don’t Matter!

    So, a caveat to start this one out. Ali messaged me on Thursday about doing an After Dark, and picking something that was short. Maybe even a short. She’s put out a couple of really incredible reported pieces this week. I have been on Emmy Watch all week. It’s been a long week. Could I think of something easy, and fun, and short, as a treat? 

    Well, you shall have to decide for yourself how much fun it is, dear reader, but I can always think of a technicality. I proposed we watch the first episode of the 12-part film serial, “The Phantom Empire,” from 1935. Taken together, the whole thing runs about four hours. There’s also a 1940, 70-minute film that cuts down the series into the barest bones of the thing — I guess because who wants to have like 24 reels of “The Phantom Empire” in storage in 1940? 

    But the first episode, which is only 30 minutes, is both bonkers enough to satisfy the After Dark remit, and kind of Missing Link-enough to talk about how some of the best TV shows and films of 2026 play with genre, serialization, and dramatic formula in the same way that this Mascot Pictures adventure lark did, nearly 100 years ago.

    The plot… look, I don’t want to summarize the plot and you don’t want to read a summary. You are going to get through the first five minutes — wherein an apparent stage coach robbery turns into a bunch of cowboys singing “Uncle Noah’s Ark” into a radio show about some trick-ridin’ kids (who did their own stunts!!), into a flashback about escaping a cadre of robot-y guys riding horses into direct address to camera into more radio show into fancy science lads on an airplane who are scheming to steal Radium (?) from the ground beneath Radio Ranch — and… and either you will be grinning ear-to-ear about the irrepressible ridiculousness of this story, or you will have a headache. And if you have a headache, you should turn it off. 

    Suffice to say that “The Phantom Empire” is considered to be among the first science-fiction Westerns on film; it instigated a tendency to combine the expansiveness of the American frontier with the wonders and dangers of technology in such a way that still impacts both science-fiction and Westerns — not to mention the playthrough of “Jedi Survivor” that I finished a week ago. 

    Parallels to the original “Star Wars” film are easy to spot in the details, and, although I can’t find Lucas talking about sound serials anywhere, there’s no way he and Spielberg weren’t influenced by them. There are some crazy laser rays, goofy wipe transitions, robots who are menaces to society, to be sure. But the visual inventiveness and the outlandish plot taken earnestly (if not always seriously) are as much reference points for blockbuster actioners like “A New Hope” and “Raiders of the Lost Ark” as Joseph Campbell’s “Hero’s Journey” is.  

    “The Phantom Empire” represents a whole bunch of storytelling ideas we take for granted now, but were, at one point, really scrappy, unashamedly childish and unabashedly bonkers alternatives to The Feature Film™. 1935 is when Alfred Hitchcock’s “The 39 Steps” came out. It’s the year of Astaire and Rogers in “Top Hat.” “Mutiny on the Bounty” won the Oscar. And yet, on the margins, you had something theaters could play in the morning for kids that was like a cross between “Silo” and “Outer Range,” with musical interludes thrown in; plus the kind of warm assurance that every chapter would end on some impossible cliffhanger, and next week you could be delighted by how Gene Autry and pals got out of trouble this time. 

    Sound serials were high-concept TV before high-concept TV, fandom before Comic Con, cinematic universes that iterated and expanded before anybody had ever heard of “Phase 2.” If nothing else, “The Phantom Empire” shows that whatever the popular Hollywood consensus is about what cinema should be — be it feature length and self-contained in a 1935 Picture Palace or the latest eight hour limited series on Netflix — that consensus will evolve; and that the flicks made on the margins can often show us ways for cinema to evolve. 

    I was first introduced to “The Phantom Empire” in a college class called “The Cinema of Action and Adventure.” It was taught by Professor Scott Higgins, who’s also written a book called “Matinee Melodrama: Playing with Formula in the Sound Serial” that has some promotional art from “The Phantom Empire” on its cover — a sign of both the enduring appeal of this particular story, and of how much this particular professor loves robots in hats. And I think one of the reasons he showed it to us (the robots in hats were a bonus) is that once you’ve seen “The Phantom Empire,” you can kind of see its influence all over. 

    I see “The Phantom Empire” in the way that “Widow’s Bay” swings between tones; I see it in big action films that nonetheless employ intricately crafted, visceral, episodic cliffhanger/release sequences like “Disclosure Day.” I see it in films that play with genre, or audience positioning, in films that are committed to play. 

    That is what is waiting for you at Radio Ranch, pardners. The chance to play cowboys and robots. Doesn’t that sound like fun? —Sarah Shachat

    The Bite: That’s It. We’re Getting Bucket Hats.

    Having spent the summer marathoning the animated “Lord of the Rings” movies, Sarah and I routinely lament living on separate coasts. I could easily see us kicking back to watch the rest of “The Phantom Empire” together, but having read her description of seeing genre everywhere thanks to its influence, I fear we might simply be too powerful in the same place. (Would the Salem witch trials have ended differently if the accused conspired long distance?)

    The first time Sarah and I started talking about film serials, she brought up “The Phantom Empire” to help me parse through an idea I had about horror overtaking the superhero genre at the box office in a way that’s culturally confusing. (Don’t ask me or Sam Raimi about The Conjuring/Evil Dead multiverse theory I’m nursing; absolutely no one has the time!) That’s anecdotal proof she’s not only telling you the truth about the way her mind works but also an intriguing instance of me doing the exact same thing in my area of expertise.

    You wouldn’t know it judging by how often we agree, but Sarah and I are remarkably different writers. Among IndieWire’s most esteemed historians, she’s been with our craft department for about as long as I’ve been covering grassroots audiences and midnight movie culture. From production design and cinematography to the evolution of genre conventions, her work often reflects a deep appreciation for the early half of last century — and an uncanny ability to trace its fingerprints across the movies being made today.

    Conversely, I like old movies… but really old movies aren’t always my thing. Among Sarah’s first After Dark selections, 1965’s “Bunny Lake Is Missing” is now one of my favorite films. But I’ll tell you right here, right now: When the American Cinematheque asked me to present a black-and-white movie at the Los Feliz 3 in Los Angeles last summer, I picked Otto Preminger’s film because it was one of the few genuinely surprising and challenging monochromatic classics I’d watched… period. And, in keeping with Sarah’s theme, I wound up literally projecting that personal experience onto the big screen.

    Since then, my curiosity about this particular repertory blind spot of mine has deepened to an extent. Still, seeing credits for filmmakers Otto Brower and Breezy Eason — two of the most utterly ancient-sounding names I’ve ever heard — open 1935’s “The Phantom Empire,” I was afraid my esteemed colleague, put under the metaphoric gun by my scheduling problems, may have programmed the rare After Dark miss. But, oh, oh, how wrong I was.

    So spectacularly strange to behold that I almost forgot I wasn’t high, Brower and Eason’s mind-boggling mix of sci-fi and cowboy antics offers a masterclass in decision-making. From the alluring SCIENTIFIC CITY OF MURANIA slate at the start to the flickering monochrome flames of a rancher’s campfire, “The Phantom Empire” isn’t chaotic so much as hypnotic. It’s the kind of flick that makes you routinely ask yourself, “Wait, did that really happen?” before each time responding to its own implied question with a bold yes-and.

    There’s too much happening in the middle of this thing for me to properly unpack where the bonkers tale of Gene Autry’s singing cowboy and Dorothy Christie’s evil space queen is going. But even enjoying just the table-setting of this twelve-part story, it’s easy to spot the brilliant strategic and structural choices “The Phantom Empire” employs within a single episode arc. I suspect, much like Sarah and me, the creatives behind this serial understood the importance of producing a narrative experience that, even at its most outlandish, makes sense to itself.

    Watching just a clip of siblings Frankie (Frankie Darro) and Betsy Baxter (Betsy King Ross) out of context, it’d be easy to dismiss their introduction at the Radio Ranchers microphone as an example of antiquity. Covering your sister’s mouth and describing her as “static” before saying you don’t want girls in your club is a very “Andy Griffith”-era thing to do, and those black-and-white TV types were still 30 years removed from this serial outing.

    But considered closer, Frankie’s insult to his sister sets up a pivotal moment later. He thinks he heard humans coming through his amateur signal — but no, the radium scientist (J. Frank Glendon) tells him. That was just static on his airwaves. Of course, having watched “Chapter 1: The Singing Cowboy,” you know better, and so do I. It’s those sorts of artistic flexes that don’t just help you stay interested in a retro cult selection you might otherwise view as a slog but that also paved the way to serialized storytelling as we know it. (OK, OK, the Conjuring/Evil Dead theory revolves around the end credits of “Evil Dead Burn” and the chronology of the next “Conjuring” prequel. That is all I will say.)

    As always, Sarah was spot-on with this After Dark selection. Shame on me for doubting her! “The Phantom Empire” does indeed have the ability to reorient how you see the modern expression of genre history. And what’s better viewing for a film club built on curiosity than a tale about a club bursting at the seams with curiosity? We don’t have a motto yet, but “TO THE RESCUE!” isn’t half bad. I’m just worried if Sarah and I keep brainstorming this much, we’re going to need bigger bucket hats. —Alison Foreman

    Read more installments of After Dark, IndieWire’s midnight movie club:

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    On Friday nights, IndieWire After Dark honors fringe cinema

    Music

    “Baby, if you leave me, can you take me with you?/I can sit in the back seat.” That’s what passes for a joke on Lost Weekend. In its dramatic plotting, Phoebe Bridgers’ first album in six years, which is out today, parallels the latest by Olivia Rodrigo—one of Bridgers’ many understudies, to be sure. Just take out all the good times. “I Can’t Wait” is a mini-laser light opera in the album’s dolorous back half. A foamy crest of flyover synth-rock ebbs suddenly at the 1:30 mark, unearthing a campfire singalong accompanied by the strains of Chris Thile’s mandolin. The atmosphere is so totalizing that you can close your eyes and see Conor Oberst perched on a log, harping on his harmonica, face framed by sparks.

    And there, lurking beside him in the shadows, is that…Son-Jon Johnson? Sorry, I mean Ameron-cay Inter-way, whose choice of pseudonym here seems less an attempt to preserve any meaningful anonymity than a wink and nod towards his forebears, those puckish folkies of the ’60s and ’70s. Besides, there’s no mistaking him. Winter and Bridgers’ voices don’t really blend—his tone is too warbly, her timbre too wispy—but, god, if that lower-third harmony on the line “Hyde Jekyll Hyde” doesn’t make for the most beautiful three words I’ve heard sung this year. Two great and lonely songwriters meet on the threshold of revelation. Who is the angel and who is the one in need of saving? No matter: They can keep each other company at the end of the road.

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    “Baby, if you leave me, can you

    Docs

    Ask ten working indie filmmakers how they pay rent between projects and at least seven will give you a version of the same answer: somebody else’s story. Weddings for a while, maybe. Then a testimonial for a software company. Then an executive interview, a conference, a brand film. The corporate gig is the indie world’s worst-kept secret, and it deserves a more honest conversation than the one it usually gets, which is either embarrassed silence at festival bars or breathless LinkedIn posts about building a six-figure video business. The truth lives in the middle, and it is more interesting than both.

    The stigma is old and mostly dead. The generation that grew up on Kickstarter and DSLRs figured out what the previous one learned quietly: the skills are the same skills. Roger Deakins shot commercials between features. David Fincher shot hundreds of them and has spent his career defending the format as a laboratory. Nobody’s indie credibility survives on instant ramen alone, and nobody’s craft ever got worse from shooting more days.

    What the corporate set actually buys

    Here is what surprises filmmakers who cross over. Corporate clients are not buying your gear list, your color science, or your laurels. They are buying your ability to make a nervous person forget a camera exists.

    Sem Maltsev, who founded the Dallas studio Image Media Lab in New York in 2013, has spent over a decade producing an interview series for a major medical journal, sitting some of the most decorated scientists alive down in front of a lens. His observation about executives applies to documentary subjects everywhere: the first five minutes decide everything. “The title on the door does not matter. A CEO in front of a camera is a first-time actor. Your job is the same as any director’s job: make the room safe, then make the room disappear.”

    That is directing. It is the same muscle you use on a non-actor in a micro-budget feature, and corporate work lets you train it every single week, on someone else’s invoice.

    The craft transfers in both directions

    The traffic between indie sets and corporate video production runs both ways, and the corporate side teaches discipline that indie sets desperately need.

    The one-day shoot is a masterclass in decision-making. A brand film often gets a single day at a client’s headquarters. You scout on Street View, you light in twenty minutes, you get the interview, the b-roll, and the safety takes before lunch, and you walk out with a finished film in your hands. Do that for a few years and your indie shooting ratio drops to something your editor will write you thank-you notes about.

    Sound discipline. No corporate client in history has accepted “we’ll fix it in post” for a CEO interview. Indie films die on bad audio more often than they die on bad images, and corporate work makes clean dialogue an unbreakable reflex.

    Deadlines with consequences. Festivals forgive a late cut. Marketing departments with a launch date do not. The habit of finishing sticks, and finishing is the rarest skill in independent film.

    Working with non-actors at scale. A testimonial shoot is a documentary interview with higher stakes and less time. Every technique you develop for putting a customer at ease, the pre-roll small talk, the question behind the question, the silence you let hang until the real answer arrives, walks straight back onto your documentary sets.

    What the indie side sends back is taste. The corporate films that actually get watched, the ones that feel like short documentaries instead of commercials, are almost always made by people who spend their nights and weekends on their own work. Clients can tell the difference even when they cannot name it.

    The honest math

    The money is real but it is not magic. Productized corporate packages in mid-size American markets run from roughly $2,500 for a single-interview piece to five figures for multi-day event coverage. A filmmaker who books two corporate projects a month is funding a short every year, maybe a feature every few years, without writing a single grant application or handing a producer final cut.

    The trap is letting the day job eat the calendar. The filmmakers who make the arrangement work treat it the way a fighter treats sparring: scheduled, contained, and in service of the real fight. Block your own project time first, in ink. Charge properly so you need fewer gigs. And put your name on the corporate work, because pride is a quality-control system that no client note can replace.

    Landing the first one

    The work finds you faster once you stop hiding from it. Put a corporate reel on your site next to the narrative work; clients read the narrative work as proof of taste, not as a distraction. Price in packages rather than day rates, because businesses buy outcomes, not hours. And treat every shoot as an audition for the referral, because corporate work compounds in a way festival submissions never will: the marketing director you make look brilliant changes companies every two years and takes your number along. Most working studios are built on five relationships doing exactly that, quietly, for a decade.

    Stop apologizing for it

    The French New Wave shot commercials. The music video generation took over Hollywood. The corporate video generation is already producing festival work, and the only people still embarrassed about the day job are the ones not booking it.

    Somebody has to film the giants of medicine, the founders, the conferences, the testimonials. It might as well be someone who knows where to put the camera.

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    Trending

    “One Battle After Another” and “Marty Supreme” took top honors at the Location Managers Guild International (LMGI) LMGI Awarda.

    The LGMI Awards were handed out on Saturday night and honor the use of filming locations across motion pictures, television, commercials, film commissions, and special achievement categories. 

    Paul Thomas Anderson’s “One Battle After Another” won outstanding locations in a contemporary feature film. It was shot across California’s Humboldt County, Sacramento, Stockton, Eureka, Arcata, San Diego and El Paso, Texas. Josh Safdie’s “Marty Supreme” won outstanding locations in a period feature film for its work across New York City, greater New York, the Hudson Valley, New Jersey and Tokyo.

    “Pluribus,” “Fallout” and “Black Rabbit” were the television winners. “Pluribus” was filmed in Albuquerque, New Mexico, Montana, Nevada, and Spain, and won outstanding locations in a contemporary television series. “Fallout,” shot in California’s Dumont Dunes, Mojave Desert, Antelope Valley and Santa Clarita,” won outstanding locations in a period television series. Filmed around New York City, including Brooklyn and Manhattan, “Black Rabbit” won outstanding locations in a tv anthology, movie or limited series. 

    Four-time Emmy-winning director and writer Vince Gilliga received the Eva Monley Award for his dedication to storytelling through location over his career and his most recent work on “Pluribus.”

    Mike Fantasia, location manager of films including “Top Gun: Maverick,” “Killers of the Flower Moon” and “Spider-Man: Homecoming” was presented the Lifetime Achievement Award. 

    “Celebrating our LMGI winners was a truly remarkable experience,” Nancy Haecker, LMGI Awards Chair, said. “The ceremony was a powerful celebration of achievement, filled with inspiring moments and well-deserved recognition, beautifully capped by the genius of Vince Gilligan. Each of this year’s winners is incredibly deserving, and it was a distinct privilege to honor their talent, dedication, and outstanding contributions to our industry.”

    Winners list below.

    OUTSTANDING LOCATIONS IN A CONTEMPORARY FEATURE FILM

    “One Battle After Another” (Warner Bros. Pictures)

    Michael Glaser / LMGI, Michael Wesley / LMGI, Rich Heichel / LMGI

    OUTSTANDING LOCATIONS IN A PERIOD FEATURE FILM

    “Marty Supreme” (A24)

    Matthew Kania, Ross Brodar / LMGI

    OUTSTANDING LOCATIONS IN A CONTEMPORARY TELEVISION SERIES

    “Pluribus” (Apple TV+)

    Christian Diaz de Bedoya / LMGI, John O’Connor, Priscila Calero, Jorge Noguerales,

    Yanira De Armas, Will Brewster

    OUTSTANDING LOCATIONS IN A PERIOD TELEVISION SERIES

    “Fallout” – Season 2 (Amazon Prime Video)

    Mandi Dillin / LMGI, David Park / LMGI

    OUTSTANDING LOCATIONS IN A TV ANTHOLOGY, MOVIE OR LIMITED SERIES

    “Black Rabbit” (Netflix)

    Paul Eskenazi, Joel McGlumphy

    OUTSTANDING FILM COMMISSION/ OFFICE

    Humboldt-Del Norte Film Commission: “One Battle After Another” (Warner Bros. Pictures)

    Cassandra Hesseltine

    OUTSTANDING LOCATIONS IN A COMMERCIAL

    TOYOTA TRUCKS: “They Don’t Read Reviews”

    Alexandra Gibson / LMGI, Christina Conway / LMGI

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    “One Battle After Another” and “Marty Supreme”

    Tech

    Taylor Sheridan, Paramount and NBC Universal are all being sued by a writer who says Sheridan stole her idea for a TV show and used it to create Yellowstone.

    In the suit, filed in the U.S. District Court for the Central District of California on Friday, TV writer and entertainment journalist Lauren J. Salkin claims she submitted a pilot script, show bible and pitch deck for a show called Sovereign Nation to Sheridan’s reps at his management company, Elevate Entertainment, which is also named as a defendant in the suit, in late 2016 and early 2017.

    Sovereign Nation, which Salkin spent more than 10 years developing, is described in the complaint, which was viewed by The Hollywood Reporter, as a “dramatic television series centered on tribal governance, casino-driven economic power and a modern war over land and development.”

    Salkin alleges that she received a response from Elevate on Feb. 1, 2017 saying that Sheridan was “unavailable for TV projects.”

    “Within months, Paramount greenlit Sheridan’s Yellowstone,” the complaint states.

    The show premiered on the Paramount Network on June 20, 2018 and later began streaming on Peacock.

    The suit says Yellowstone featured “specific expressive choices already embodied in Salkin’s materials” including “a tribal casino functioning as the institutional center of political and development power; a signature confrontation staged in the tribal chairman’s casino office over expansion beyond reservation boundaries; the use of trust land, the absence of zoning restrictions and a 99-year lease structure as the concrete mechanism for that expansion; and recurring master-plan imagery deployed to dramatize the struggle for territorial control.” Salkin also argues that Yellowstone followed several of her proposed casting recommendations for key roles in Sovereign Nation.

    “Copyright law does not protect the abstract idea of a Western, a land dispute, an Indian casino or a powerful family — and that is not Plaintiff’s claim,” the complaint states. “The infringement alleged here lies in the copying of Salkin’s particular expressive choices and their coordinated selection and arrangement.”

    The suit also notes that a senior HBO scripted TV executive who had reviewed materials for Sovereign Nation later told her he recognized similarities in Yellowstone.

    Salkin argues that the hit Kevin Costner-led series, which has spawned numerous spinoffs, “has generated billions of dollars” for the defendants, of which she “has received nothing.”

    Salkin is seeking damages and profits tied to alleged copyright infringement and injunctive relief preventing future infringement.

    “This is a classic David-versus-Goliath situation,” Salkin’s attorney Paul B. Lackey told THR. “She spent years putting together the specific and multi-layered framework for a story that has become the biggest streaming success of all time. She has watched the vast commercial success of this story that was stolen from her and decided that enough was enough.  We will do everything in our power to get her justice.”

    Reps for Sheridan, Paramount, Elevate and NBCUniversal have not yet responded to THR‘s request for comment.

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    The road to creating Widow’s Bay, Apple TV’s newest comedy sensation that has landed 19 Emmy nominations in its debut season, has been a long one for creator/showrunner/executive producer Katie Dippold. In fact, from the first drafts to its premiere at the tail end of the Emmy season, it has been 18 years.

    During that time it wasn’t just this one idea Dippold has been working on, but rather part of an impressive writing career with a lot of notable comedies across film and TV. Those credits on the big screen include The Heat with Melissa McCarthy and Sandra Bullock, the all-female Ghostbusters, Snatched with Goldie Hawn and Amy Schumer, and Disney’s 2023 remake of Haunted Mansion. In addition to all that she was a writer-producer from 2009-2013 on Parks & Recreation, the place where her idea for Widow’s Bay first came to fruition.

    As a performer she was a key member of the improv group Upright Citizens Brigade, a writer on Mad TV’s 12th season, and on the MTV prank series Boiling Points.

    Now she finds herself a front-runner for writing and producing Widow’s Bay and she joins me for this episode of my Deadline video series Behind the Lens to talk about its inspirations, her idea to mix horror and comedy in ways it hasn’t been done before. She also reveals her reaction to getting praise from Guillermo del Toro and Stephen King, all those Emmy nominations and so much more, including where the show is headed in its second season now in the works in the writers room plus spilling secrets about that shocking finale.

    To watch our conversation and go “behind the lens” with Katie Dippold, watch the video above.

    Join me every Monday and Friday this season for a new edition of Behind the Lens.

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    By Meghan O’Keefe

    HBO’s newest Sunday night drama is the DCU’s Lanterns. Aaron Pierre stars as John Stewart, a former Marine who has spent his whole life training to become the Earth’s next Green Lantern. Kyle Chandler plays Hal Jordan, the first ever human Green Lantern, who is none too pleased to be tasked with training Stewart to be his eventual replacement. While DECIDER can confirm that future episodes will show these characters zooming around outer space, what makes Lanterns so impressive is how it takes one of DC’s most cosmic sagas and brings it down to Earth. John and Hal find themselves trying to solve a perplexing murder mystery in the middle of Nebraska. It’s a seemingly simple case with potentially cataclysmic implications for the future of the Lanterns and life on Earth. Lanterns is gritty, intriguing, and great fun.

    Photo: HBO

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    By Meghan O'Keefe HBO’s newest Sunday night drama is

    Latest News

    For Mnqobi Yazo, “Nhlanhla” is more than a song about luck or fortune. It is a reflection of a difficult chapter in his life and the unexpected opportunities that followed its ending.

    The KwaZulu-Natal-born musician, whose real name is Lindokuhle Mnqobi Msimango, released the single this August, marking the latest chapter in an evolving career that has seen him blend traditional Zulu sounds with contemporary music.

    The release follows his July collaboration with “Nkanyezi” and his January 2024 album “Ubhoko”.

    Speaking about the inspiration behind “Nhlanhla”, Mnqobi Yazo said the song was born from a relationship that left him questioning whether he was being valued for who he was rather than what he had.

    “For me, ‘Nhlanhla’ came from a very personal experience of going through a difficult relationship and feeling like I wasn’t being appreciated because I was still trying to build my life,” he said.

    “There was a point where I felt like my circumstances were being measured by what I had, rather than by the person I was becoming.”

    From heartbreak to a blessing

    While the end of the relationship was painful, Mnqobi Yazo said the period that followed brought unexpected changes to his life.

    “When that relationship ended, things slowly started changing for me. Opportunities began opening up, my career started moving in a different direction, and I realised that sometimes what feels like a loss can actually be the beginning of something better,” he said.

    That realisation became the emotional foundation for “Nhlanhla”.

    For Mnqobi Yazo, the title represents more than luck. It speaks to divine timing, favour and gratitude, while acknowledging that some endings can ultimately make space for new beginnings.

    “It’s about looking back at where you came from and saying, ‘Maybe that ending was necessary for this new beginning,’” he said.

    An artist not afraid to experiment

    As he prepares for what he describes as his most experimental album project yet, Mnqobi Yazo is also challenging himself creatively.

    His music has become known for bringing together elements of Isicathamiya, Maskandi and Afro-Jazz with contemporary sounds. However, he believes preserving his cultural identity does not mean refusing to evolve.

    “I don’t want to make the same album twice,” he said.

    “With this project, I’m allowing myself to explore different sounds, different textures and different ways of telling stories.”

    While the sound may evolve, the foundation remains firmly rooted in his Zulu identity.

    “The language, the melodies, the storytelling, the way we express emotions and even the way traditional sounds are used, those things are part of who I am,” he said.

    For Mnqobi Yazo, cultural preservation is about carrying tradition forward rather than keeping it frozen in time.

    “I can experiment with production and still make music that sounds like it comes from where I come from,” he said. “I want people to hear something contemporary, but still feel that African spirit underneath it.”

    From ‘Iscephu’ to sold-out venues

    Mnqobi Yazo’s career has grown considerably since the release of his debut EP, “Iscephu”, in 2018.

    The project eventually achieved platinum status, while his subsequent work has helped establish him as one of South Africa’s distinctive storytellers.

    His Ubhoko Tour also took him to major venues, including Johannesburg’s Lyric Theatre at Gold Reef City in 2025 and The Playhouse Company in Durban in 2026.

    But for Mnqobi Yazo, the biggest milestone has not simply been the commercial success.

    “I think the biggest turning point was when I started understanding that I wasn’t just making music anymore; I was building a career and a legacy,” he said.

    While “Iscephu” introduced audiences to his sound, the years that followed forced him to become more intentional about his artistry.

    “Performing at places like the Lyric Theatre and The Playhouse and seeing people connect with the music in those spaces made me realise how far the journey had come,” he said.

    “The biggest change was probably within me; I became more confident in who Mnqobi Yazo is and what I represent.”

    How acting shapes his music

    Mnqobi Yazo’s storytelling is also informed by his work as an actor and producer, with each creative discipline giving him a different perspective.

    “As a musician, I’m thinking about emotion, melody and how the listener will feel. As an actor, I’m thinking about characters, their motivations and what they might not be saying out loud,” he explained.

    “As a producer, I’m thinking about the entire world around the story, the sound, the atmosphere, the arrangement and how everything comes together.”

    Rather than separating the three disciplines, Mnqobi Yazo said they have become part of his natural creative process.

    He credits acting in particular with helping him become more vulnerable in his music.

    “Sometimes you have to step outside yourself and tell a story from someone else’s point of view,” he said.

    “That makes the songwriting deeper because you’re not only talking about your own experiences; you’re also trying to understand other people.”

    Taking Zulu storytelling to the world

    As Mnqobi Yazo looks towards the next stage of his career, his ambitions extend beyond South Africa.

    But his idea of going global does not involve diluting the culture that informs his music.

    “I don’t want to go global by becoming less African. I want to go global because of how authentically African I am,” he said.

    For Mnqobi Yazo, introducing international audiences to African music is also an opportunity to introduce them to the stories, languages, histories and emotions behind the music.

    “With Zulu music specifically, I want people to appreciate the beauty of the language and the depth of our storytelling,” he said.

    “Even if someone doesn’t understand every word, I want them to feel the emotion and curiosity that makes them want to learn more about where the music comes from.”

    Ultimately, Yazo’s global ambition is simple: to perform for audiences around the world without having to leave isiZulu or his identity behind.

    “A global breakthrough for Mnqobi Yazo would be being able to perform for audiences across the world while still singing in isiZulu and representing where I come from,” he said.

    And if “Nhlanhla” is any indication, his next chapter is about embracing exactly that: growth without losing his roots.

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    For Mnqobi Yazo, "Nhlanhla" is more than

    MCU

    JEAN GREY #1
    Written by Jed MacKay
    Art by Rogê Antônio
    Cover by Jöelle Jones
    On Sale 11/25

    “More than anything, it felt like it was time—Jean coming into X-Men was largely precluded by the Phoenix series that was running when we launched, and even after that wrapped, I continued to hold off on it until the time seemed right,” MacKay explained to AIPT. “After all, adding the Phoenix to your team book throws off the balance in a pretty dramatic way. Now, post-DNX, we’re going to see the X-Men in a position to need Jean Grey—and Jean Grey in a position to need the X-Men. Dovetailing that into this moment being one where Jean is in the public consciousness more than she has previously just worked.”

    Speaking to AIPT about the impact of DNX, X-Men Editor Tom Brevoort shared, “In terms of after-effects, you already know about one thing that’ll be coming straight out of it: JEAN GREY. And it’ll have an impact on the launch of Maximum X-Men as well, though not to the point where you’ll have to have read one to follow the other. The effects will also ripple out to some degree across the other books. But the biggest place it will hit is in Alaska and in Jed’s slice of the pie, where it will be relatively seismic.”

    Check out JEAN GREY covers by Joëlle Jones, Miguel Mercado, and Nogi San. Preorder the series at your local comic shop and discover what sparks Jean Grey’s new chapter by picking up DNX starting on September 2.

    Grab these comics and more at your local comic book shop! Or redeem your digital copy on the Marvel Unlimited app by using the code found in your print comic. Download the Marvel Unlimited app for iOS and Android devices today!

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    JEAN GREY #1Written by Jed MacKayArt by

    DCU

    A popular DC actor from James Gunn’s Superman film isn’t too pleased with one controversial decision the creators of Lanterns made with Kyle Chandler’s character. The HBO/HBO Max series premiered on August 16 and delivered massive viewership for the streamer. It follows space cops Hal Jordan (Kyle Chandler) and John Stewart (Aaron Pierre) as they investigate a murder mystery in Rushville, Nebraska. The show flexed several exciting comic book elements and flamboyant Green Lantern constructs, pleasing fans who tuned in for the premiere. By the time the episode ended, however, one major decision dominated Lanterns‘ discourse on social media.

    Neva Howell, who played Ma Kent in 2025’s Superman, took to X to share her disapproval of Lanterns potentially killing off Hal. The premiere moves between two timelines, 2016 and 2026, with the final scene set in the latter. There, an older, bearded John Stewart reunites with Kelly Macdonald’s Sheriff Kerry, and they head to the bleachers of the town’s stadium; they find Hal frozen stiff in a seat with a bullet wound in his head. He appears to be deceased, and John even sheds a tear for his mentor.

    DC Studios

    Howell isn’t buying it. Under a DCU post discussing Hal’s apparent demise, she wrote, “If that’s all there is with him in it, I won’t just be sad. I’ll be furious.” That sentiment is shared by a sizable portion of the DC fanbase that waited 15 years to see Hal return in live action. 

    Her reaction also isn’t surprising, given how much she loves Chandler’s portrayal. In a separate post, the Superman actress wrote, “I just adore Kyle Chandler, and he is fantastic as Hal Jordan!” Chandler brought this old, weary version of Hal to life convincingly, and the character’s relationship with John, the rookie he is training, was one of the highlights of the first episode. Chandler described their dynamic as a “really wonderful friendship” to the Los Angeles Times:

    “I think that one of the goals of the arc for these two guys is that they really don’t like each other at the beginning. At the end … you realize [it’s] a really wonderful friendship that occurred. … He’s a friend. I’m not gonna tell him that, but he’s a friend, and I’d do anything for him.”

    The mystery surrounding Hal’s fate will linger for weeks as the show slowly unravels its plot and reveals what’s going on. For now, fans are left with theories. Some are convinced he is truly dead, while others believe it is a fake-out.

    Is Hal Jordan Dead in HBO’s Lanterns Series?

    John Stewart, Sherrif Kelly and a dead Hal Jordan.
    HBO Max

    Lanterns has been marketed as a murder mystery, and the premiere makes clear that the mystery heavily involves Hal Jordan’s shooting. With Hal’s death at the center of the plot, a resolution is unlikely to come anytime soon, possibly not even this season, and maybe not until Season 2. 

    The decision seems strange at first, given how important Hal is. He is one of the greatest Green Lanterns, John Stewart’s mentor, and the audience’s entry point into the Green Lantern Corps, so killing him off in the first episode feels too cheap. 

    There is clearly more to his apparent demise than meets the eye. He may not be truly dead, or he could be resurrected, both of which have precedent in the comics.

    The first episode also established that about 14 alien species can shapeshift and mimic human physiology so perfectly that regular blood tests and other medical checks cannot expose them. That raises a possibility worth considering. The body at the end of the episode may not be Hal at all. Co-creator Damon Lindelof also suggested the creative team expects to be vindicated for the choice by the finale, saying, “I guess our feeling is let’s see how you feel at the end of episode 8.” 

    Lindelof’s confidence gives off the sense that the show has a loophole to keep Hal in play, and the premiere might have already planted it. Hal stored his consciousness in his power ring years before his apparent death, and a hologram of him appears before John after the rookie survives the car-crash test Hal set for him earlier in the episode. 

    In Green Lantern lore, a ring preserving an echo of its wearer is not a stretch, giving Lanterns a comic book-grounded path to bring Hal back without undoing the stakes of the mystery. For now, the body indicates Hal is dead, while the ring missing from his finger, the hologram, and the shapeshifter reveal suggest that the truth is more complicated than the audience thinks.

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    earn BetMakerz Casino registration bonus image

    I’ve devoted a lot of time reviewing online casino landing pages, and BetMakerz Casino is distinguished because it positions the experience around three tangible promises: safety, excitement, and consistent rewards. For players in the UK, that blend matters, especially with so many sites competing for attention. On the official homepage, you can view the main offering quickly: slots, table games, live dealer options, a welcome bonus area, and banking details. My goal here is to guide you through everything I spotted and what you should review before signing up. I won’t cram the page with vague statements. I’ll focus on how the platform works, what the terms mean, and which details can affect your experience. If you’re contrasting it with other brands or contemplating a first deposit, this guide offers you a clear, honest starting point.

    Creating and Validating Your Account

    Setting Up an account at BetMakerz Casino matches the standard industry pattern, but I always recommend reviewing the sign-up form carefully. You start by submitting your email, picking a strong password, and choosing the correct country and currency. Since the brand focuses on UK players, the form should present the relevant legal notices and age verification prompts. After the initial details, the casino requires your full name, address, date of birth, and mobile number. Giving accurate information right away stops delays later. The most important step is confirming you are at least 18, because gambling in the UK is not legally permitted for minors. Once you approve the terms and privacy policy, the account is established, and you can check out the cashier or promotions page before depositing funds.

    Verification is where some players become frustrated, but it’s a sign the operator handles safety seriously. Most casinos request proof of identity, such as a passport or driving licence, and proof of address, such as a utility bill or bank statement issued within the last three months. The first withdrawal usually initiates this request, although the platform may also request it at deposit stage or as part of routine checks. Documents are reviewed within a few hours to a few days, subject to volume. You can hasten this process by attaching clear photos or scans and confirming the name and address align with your account. If you’re in the UK, using a debit card or bank transfer means the card or account details should correspond to your verified name. I recommend completing verification early rather than delaying until you request a cashout.

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    Most players now visit casino sites on their phones, so mobile performance matters as much as desktop. The BetMakerz Casino homepage is built to run in a mobile browser, which means you are not required to install a dedicated app unless provided. I checked the layout on a standard smartphone and discovered that the main navigation shrinks into a menu, while the game grid adapts to the screen size. This responsive design maintains the cashier, promotions, and support links accessible without zooming. The games load through HTML5, so they ought to run on Android and iOS devices without any extra software. The only real difference is screen space; complex table games can seem cramped on a smaller display, but most modern titles are optimised for touch.

    However, a stable internet connection is vital for live dealer games and progressive jackpots, because interrupted streams or lag can affect your timing. If you favor apps, check whether BetMakerz Casino provides one through its official site or app store in the UK. A good casino app should deliver the same login, bonuses, and banking methods as the desktop version, not a reduced feature set. I also advise enabling biometric login if it is available, because it improves security and saves time. For the best experience, keep your browser or app updated and stay away from using public Wi-Fi when making deposits or submitting verification documents. The mobile experience at BetMakerz Casino should seem familiar within minutes, and it is one of the main reasons I view it suitable for everyday UK players who seek quick sessions.

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    Table game offerings deliver a unique tempo because they often require skill, not just chance. At BetMakerz Casino, the usual digital table category contains blackjack, roulette, baccarat, and casino poker in multiple versions. I check the rule set before playing blackjack because payout ratios and dealer stand rules can be different. European roulette offers better odds for players than American roulette because there is one fewer zero pocket. Baccarat is simpler and has a low house edge on banker bets. These digital versions are valuable for learning the mechanics because they enable smaller stakes and a slower pace. The game rules are accessible through the info menu, and I recommend reading them before placing a real-money wager.

    Real-time dealer games move the experience nearer to a physical casino. The live lobby transmits blackjack, roulette, and baccarat tables from a professional studio, with a real dealer running the game in real time. I enjoy live games for social interaction because you can use the chat feature, but you should still maintain bet limits in mind. Some tables in the UK-facing market use pounds, and others may present euros or other currencies, so verify the table sign before you sit down. The minimum and maximum stakes range widely, with dedicated VIP tables for larger bankrolls. Streaming quality relies on your connection, but good live lobbies run seamlessly on mobile and desktop. If you favor a faster game, search for speed roulette or rapid blackjack variants.

    Slot Collection and Fresh Titles

    The slot lobby at BetMakerz Casino is where the majority of players spend their time and the organization of the lobby simplifies to pick a fitting option. You can filter by provider, theme, game mechanic, or risk level. I seek out feature categories such as free spins, Megaways, jackpot slots, and bonus buy games, because those have varying play styles. New releases appear at the top, while classic fruit machines and progressive titles are in separate tabs. The scope of the library changes, but a contemporary casino site should offer hundreds of slots at the very least. I suggest using the search bar if you already know a title, and using the provider filter if you favor a specific studio. Checking the game information panel before you play provides you with the return to player percentage and pay lines, which allows you to manage expectations.

    One helpful suggestion for UK players is to test a slot in demo mode before wagering real money. Many casinos permit this, and it is a good way to get a feel for the bonus frequency and speed. The games run on HTML5 software, so they open directly in your browser without lengthy downloads. If you are after bigger prizes, progressive jackpot slots can be exciting, but keep in mind the standard game payouts are usually lower because part of every stake goes into the jackpot pool. Feature-heavy slots can also seem enticing, but I always review the minimum and maximum bet before starting. The important habit is to view each session as entertainment, not a way to win back losses. BetMakerz Casino’s slot collection should suit casual players and big spenders, but the precise game lineup may change, so I check the lobby for present availability.

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    Banking is an area where a casino establishes or damages its reputation, so I always assess the cashier’s transparency before recommending a brand. BetMakerz Casino lists its accepted deposit options inside the cashier or payment section. For UK players, standard methods include Visa, Mastercard, and various e-wallets such as Skrill, Neteller, or PayPal where available. Some casinos also accept bank transfers, prepaid vouchers, and mobile payment services. Deposits are immediate or become available within a few minutes, and minimum deposit amounts fall between £10 and £20. I favor using the same method for deposits and withdrawals where possible, because most platforms insist on that for security. Before adding money to an account, confirm whether the casino applies any fees and whether your bank may apply a separate cash advance charge.

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    Safe gaming is not merely a compliance formality; it’s central to whether a casino deserves your trust. BetMakerz Casino should offer a specialised page with deposit limits, session reminders, timeouts, and voluntary exclusion choices. I employ deposit https://www.tsn.ca/golf limits as a fundamental tool because they keep you from spending more than intended in a week or month. Playtime alerts can also interrupt play after a specified duration and display to you how long you have been engaged. If you want a longer break, timeout tools let you restrict access for a particular duration, while self-exclusion is the strongest tool for longer recovery periods. The platform should also direct you to external support agencies that specialise in gambling harm. In the UK, those organisations provide free, private guidance and can organise further measures.

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    Offers and Promotions: Reading the Important Terms

    The introductory bonus at BetMakerz Casino is the initial item you view, but the true benefit rests in the terms. I always divide any offer into four parts: match percentage, maximum bonus, minimum deposit, and wagering requirement. A welcome package may be distributed over the opening deposit or the opening multiple deposits, and it’s commonly paired with free spins on selected slots. The landing page should display the existing top promotion, but I still review the full terms before funding my account. One frequent problem is claiming a bonus without noticing the qualifying deposit amount. If you deposit less than the required minimum, you may lose the promotion entirely. Also, not all payment methods are eligible, so confirm that your chosen method is acceptable.

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    Is the BetMakerz Casino safe for UK players?

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    What welcome bonus am I able to claim at BetMakerz Casino?

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    Which payment methods are supported?

    The cashier lists debit cards, e-wallets, and bank transfer options. Common choices encompass Visa, Mastercard, Skrill, Neteller, and sometimes PayPal or Trustly, depending on availability. Deposits are immediate, while withdrawals depend on the method’s processing time. I suggest using the same method for deposits and withdrawals and reviewing for any fees before you add money to your account.

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    Comics

    Rebel Wolves and Bandai Namco have shared console gameplay of their upcoming action RPG, The Blood of Dawnwalker, which they say will run up to 40fps.

    Dawnwalker will offer two graphics modes on PlayStation 5 and Xbox Series X. Quality Mode will target 30fps at dynamic 4K resolution, while Balanced Mode will target 40fps at dynamic 4K resolution.

    PlayStation 5 Pro will target the same frame rates and dynamic 4K resolution, according to a new video, but with “enhanced visual quality” across both modes.

    There’s no mention of a 60fps option for launch, which appears to have sparked some disappointment among those commenting on the video.

    “[I] was excited but I guess I’ll be waiting for a performance patch,” wrote one user. Another added: “I’d rather have the option of playing it at 1080p at 60 fps rather than 4k at 40 fps.”

    The Blood of Dawnwalker will release for PC, PlayStation 5, and Xbox Series X|S on September 3. The game is directed by Konrad Tomaszkiewicz, who was The Witcher 3’s game director and head of production/secondary game director for Cyberpunk 2077.

    In a recent hands-on preview, VGC’s Jordan Middler said Dawnwalker “instantly became one of my most anticipated games after four hours of play”.

    “The Blood of Dawnwalker doesn’t feel like the first game from a new studio. There’s a level of experience in the bones of this game that is evident from the opening moments.

    “While its developer’s pedigree is unimpeachable, ‘the new thing from the guys who made the amazing thing’ is rarely as impressive as this.”